The Kyma Language for Sound Design, Version 4.5

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FFT cross synth RE Analysis Tool Try playing talking forced air heater. This Sound takes the spectral envelope of the GenericSource called modulator (take spect env of this) and, in the frequency domain, multiplies it by the spectrum of input (apply spect env *to* this). Then it applies the FFT again to bring the product back into the time domain where you can hear it as the basic sound of the input (in this case the sound of a forced-air heater) with the formants of the modulator (in this case the sound of speech). fft cross voice and harp is another example of this particular flavor of cross synthesis. RE, or resonator-exciter analysis, is another variation on the theme of crossing the formant characteristics of one sound with the basic spectral content of another. The idea is to start with a sample or digital recording, and to break it down into two parts: a time-varying filter and an input signal for that filter. Once you have broken the original sound into those two components, you can begin mixing and matching components — feeding the input signal from one into the time-varying signal of another, or feeding samples or even synthetic signals into the filter. “Oh really, Mr Dolphin?” To hear an example of this kind of synthesis, play smart dolphin, and smoothly change !Index from 0 to 1. Keep trying until you hear what the dolphin is saying (the trick is to move the !Index fader smoothly and to take about 1.5 to 2 seconds to get from 0 up to 1). This example is a looped dolphin sample being fed into an RE filter. As you move !Index you are changing the coefficients for the filter — controlling the rate at which this filter changes over time (somewhat analogous to controlling the rate at which you change the shape of your mouth and position of your tongue when you speak). Grain Man granulation into RE filter is an example of feeding a synthetic signal through an RE filter. Trigger the time-varying filter using the MIDI keyboard. Control the rate of the grains using !Rate on the virtual control surface. Try setting !Rate to 1, triggering the filter, and then moving !Rate to a smaller number while the filter is playing. This sounds like the audio counterpart to the graphic special effect that looks like someone turning into lots of tiny spheres and disintegrating. Wielding your Tools Let’s try creating one of these filters using the RE analysis tool: 1. From the Tools menu, select RE Analysis. It opens an analysis window with several parameters. 2. Use the Browse… button to choose the sample Virtual DEF from the Speech folder of the Samples folder of the Wavetables folder. It will play back once for verification. 3. Leave the settings for Filter order, Update rate, and Averaging time at their default settings. The filter order corresponds to twice the maximum possible number of resonances in the final filter (some of the resonances may simply reinforce each other rather than being at different frequencies). Later, you can try analyzing again with 64 as the order number to hear if it makes a difference. 4. Click the button named Create RE only, indicate that you want to save the file in the RE folder of the Wavetables folder, and wait until the thermometer display indicates that the analysis is complete. At the completion of the analysis step, Kyma will create and play an example Sound based on the RE file just created. This is the RE filter with noise as the input. Double-click on the Sound to edit it. Change the parameters of time index Sound as follows: Parameter Value Duration on Trigger !KeyDown OnDuration 6.02 s * (1 - !Rate) * 2 106
Next, edit the Noise module, changing its Duration to on. Play this edited version of the Sound, adjusting !Rate to go through the sequence of filter coefficients more slowly or more quickly. Find the Sound called alternate input to RE filter in the Sound file window. Substitute this Sound for noise input in the Sound editor on Virtual DEF RE. You can do this as follows: ♦ Select alternate input to RE filter ♦ Copy it ♦ Return to the Sound editor and select noise input ♦ Paste Play the newly altered version of Virtual DEF RE. This example imposes the formants of the speech onto the basic material of the harp gliss. Experiment with substituting some of your own, broadband samples for the harp gliss in the Generic- Source when it asks. In general, the best kinds of inputs are those which are continuous, have a narrow dynamic range, and a rich spectral content (i.e. the closer they are to continuous white noise, the better the results). 107
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Acknowledgments Acknowledgments to
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knowing that he would understand an
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These sections tend to be graphical
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Go ahead and set this up now, so th
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First, Kyma asks you to invest some
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Grammar Kyma “sentences” are co
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A Sound, no matter how complex, can
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Whether you are composing or design
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Data-driven Sound Patterns in exper
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Preproduction The items in the Tool
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♦ The spectrum editor is a two-di
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Sound, Sound File, and Sound Editor
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Help and Information For on-line he
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tem. However, you can drag a Sound
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Delete To remove Sound A from the s
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Whenever you want to make sure that
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Parameters Suppose you wanted to dr
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to replace the old value. § Then u
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Event Values Even though the Generi
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Status Whenever you play a Sound th
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Kyma will make an association betwe
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Scale and Offset 90% of all arithme
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So if you see a parameter field tha
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Automation To prevent a controller
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To read several channels, create se
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Smoothing Things Over To filter or
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Now select and play the FormantBank
Page 56 and 57: For example, to set controller numb
Page 58 and 59: MIDI Controllers The output of any
Page 60: Cross-mapping Parameters There is n
Page 63 and 64: Sample Editor Getting Information o
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Page 67 and 68: Text Preferences There is not that
Page 69 and 70: Select the folders in the top list
Page 71 and 72: Algorithmic Splicing and Mixing Scr
Page 73 and 74: Who’s on top? the value of a vari
Page 75 and 76: TimeController is a little less ext
Page 77 and 78: To play a compiled Sound, tab into
Page 79 and 80: Compile, load You may notice that s
Page 82 and 83: Strategies for Non-real-time In som
Page 84 and 85: Remove Redundancy The most common s
Page 86 and 87: Learning Kyma When people tell us t
Page 88 and 89: You will get the most out of this
Page 90 and 91: You can read these settings, but yo
Page 92 and 93: lowing the tutorials step-by-step,
Page 94 and 95: Audio Demonstrations These examples
Page 96 and 97: Now examine the value of Frequencie
Page 98 and 99: Backgrounds, Textures Sounds in thi
Page 100 and 101: Edit cloud1, setting the parameters
Page 102 and 103: In pick out unvoiced the EX version
Page 104 and 105: Go back and double-click on synthet
Page 108 and 109: Delays, Chorusing, Reverb Delays Ch
Page 110 and 111: So you could model a sound source i
Page 112 and 113: Disk Recording, Playback Playback R
Page 114 and 115: Multi-tracking this could be used t
Page 116 and 117: Distortion Waveshaping Clipping By
Page 118 and 119: down. At all other times, the ampli
Page 120 and 121: Envelopes In general usage, the wor
Page 122 and 123: Formants Picture a sine wave added
Page 124 and 125: Frequency Scaling One of the most c
Page 126 and 127: It looks very much like a series of
Page 128 and 129: RE Synthesis Surrealism Double-clic
Page 130 and 131: F13 frequencies, we have to multipl
Page 132 and 133: Parameter Setting Select unchecked
Page 134 and 135: Looping, Feedback Several Kyma Soun
Page 136 and 137: MIDIVoice Scripts The MIDIVoice and
Page 138 and 139: Random Events The next example gene
Page 140 and 141: The first line is just a declaratio
Page 142 and 143: EventMix Play the example called ou
Page 144 and 145: Markov Chain In Kyma, the MarkovCha
Page 146 and 147: Recursion First we create a TimedEv
Page 148 and 149: Morphing Imagine a scene from your
Page 150 and 151: Single Musical Tones You can also m
Page 152 and 153: Adjust the fader upwards until you
Page 154 and 155: III. Synchronizing the Analyses At
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Output MIDI Getting Wired MIDI Note
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Generating MIDI If you want to turn
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Note that if you decide to switch t
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Playing Back Samples from the Capyb
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Scripts OK, now for a verbal explan
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every 256 samples, it outputs the s
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Stereo Placement If a sound source
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Tap Tempo This file contains exampl
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Time Scaling This section is the du
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Timing Clock, MTC When you use Kyma
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faster rate than once per second! D
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Timbre Like an amplitude envelope,
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will output 256 tracks on each fram
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Tuning In Kyma, the smallest change
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Click the Create Example button; Ky
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Group-additive Synthesis In additiv
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Whooshes, Hits, Bys These are some
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You have defined a general stereo l
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Click in a light area to draw a dar
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First, in the Class Description fie
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Now your script should look like th
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Now use a continuous control on the
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Now let’s make a transformation t
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Part III: Exercises Time/frequency
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Creating a Wavetable using the Samp
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Kyma Quick Reference System Prototy
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Working with the Parameter Fields o
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Specifying Units in Parameter Field
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Virtual Control Surface The axes of
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Spectrum Editor Overview Navigating
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Sample File Editor This box indicat
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Prototypes Reference
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ADSR Envelopes & Control Signals Ca
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AnalogSequencer Sequencers Category
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#(!Morph 0 0.25 1) #(!Pan 0 0.5 1)
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Annotation Variables & Annotation C
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ArcTan Math Category The output of
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AudioInput Sampling Category An Aud
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CellularAutomaton Scripts Category
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CenteringMixer Mixing & Panning Cat
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ChannelJoin Mixing & Panning Catego
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Chopper Envelopes & Control Signals
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ContextFreeGrammar Scripts Category
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Crossfade Level, Compression, Expan
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Interpolation When Linear is select
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DiskCache Sampling Category Stores
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DiskRecorder Sampling Category Reco
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DynamicRangeController Level, Compr
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EndTogetherMixer Mixing & Panning C
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FeedbackLoopInput Xtra Category A F
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FFT Spectral Analysis FFT Category
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Feedback The higher the Feedback, t
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FormantBankOscillator Xtra Sources
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FrequencyTracker Tracking Live Inpu
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FunctionGenerator Envelopes & Contr
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GAOscillators Xtra Sources Category
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GenericSource Xtra Sources Category
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To specify a constant duration, no
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GraphicEQ Filters Category This giv
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HighShelvingFilter Filters Category
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IteratedWaveshaper Distortion & Wav
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the samples to be mapped. LoFreq Lo
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LiveSpectralAnalysis Tracking Live
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LowShelvingFilter Filters Category
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Matrix8 Spatializing Category This
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MemoryWriter Sampling Category When
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MIDIFileEcho MIDI Out Category This
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MIDI file). Set Channel to 0 to use
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MIDIOutputController MIDI Out Categ
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MIDIOutputEventInBytes MIDI Out Cat
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Polyphony Number of simultaneous MI
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Mixer Mixing & Panning Category Add
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MultifileDiskPlayer Sampling Catego
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Multisample Sampling Category This
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MultisegmentEnvelope Envelopes & Co
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Noise Xtra Sources Category This ge
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actualFreq := Frequency + (Frequenc
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OscilloscopeDisplay Tracking Live I
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Output8 Spatializing Category This
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Pan Mixing & Panning Category Place
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PeakDetector Tracking Live Input Ca
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PresenceFilter Filters Category Act
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Product Math Category Outputs the p
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When reset is nonzero, it resets th
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QuadOscillator Xtra Sources Categor
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0 (maximum attenuation) !Fader1 (co
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ReverbSection Reverb, Delay, Feedba
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RhythmicCellularAutomaton Scripts C
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RunningMax Math Category Output is
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Sample Sampling Category Plays the
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SampleAndHold Sampling Category A S
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Pan This is the stereo position of
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ScaleAndOffset Math Category The ou
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Controls the level of the SideChain
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0 (maximum attenuation) !Fader1 (co
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SetRange Math Category This maps th
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SingleSideBandRM Frequency & Time S
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SoundCollectionVariable Variables C
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SpectralShape Spectral Sources Cate
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SpectrumFrequencyScale Spectral Mod
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SpectrumLogToLinear Spectral Modifi
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FreqHysteresis Enter a frequency or
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SpectrumOnDisk Spectral Sources Cat
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SqrtMagnitude Math Category This is
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StereoInOutput8 Spatializing Catego
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StereoMix4 Mixing & Panning Categor
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SumOfSines Xtra Sources Category Re
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exact time within the sample where
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smallest array will be used, and an
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every other value of this Sound wil
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Threshold Tracking Live Input Categ
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TimeFrequencyScale Frequency & Time
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TimeOffset Time & Duration Category
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TriggeredSampleAndHold Sampling Cat
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TunableVocoder Filters Category Tun
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TwoFormantElement Filters Category
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full amplitude use +1.0 or -1.0; an
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VCA Envelopes & Control Signals Cat
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LowCF This is the center frequency
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TimeConstant Controls the reaction
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WarpedTimeIndex Time & Duration Cat
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398
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Compression/Expansion Gain 265 Cros
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Math Difference 245 Math Equality 2
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Spatializing Output8 312 Spatializi
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406
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DiskCache Disk 246 DiskPlayer Sampl
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Mixer Distortion & Waveshaping 298
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SpectrumInRAM Spectral Sources 355
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414
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416
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Menu Operations The menus available
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About the table: ♦ File Descripti
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File menu: Close File menu: Save…
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For more information, see Virtual C
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Edit menu: Undo Edit menu: Cut Edit
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Edit menu: Trim The Trim operation
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♦ Icon Size in Sound Editor Field
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♦ If the file name has a complete
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Time and Time Code Displays The tim
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speeds that may be compatible with
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Even if the selected Sound cannot p
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Info menu: Describe sound Describe
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Tools Menu FFT and the window funct
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Using the Tool Choose Spectral Anal
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If you are unsure which type of fil
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If you hear clipping in the resynth
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The Tool performs an analysis that
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The main page of the Tool contains
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Clicking on Cents Scale brings up t
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This part of the tool reads lines f
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System Prototypes and the Sound Fil
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Creating and Editing Sounds In Kyma
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Clicking the arrow tab on Vocoder1,
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You can adjust the layout of the si
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Double-click a Sound in the signal
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An envelope breakpoint field is use
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Specifying Numbers You specify numb
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Event Values, Virtual Control Surfa
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Event Sources are specified by prec
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By default, Sounds in hot parameter
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Booleans The real-time evaluator ca
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Symbolic Times and Frequencies Use
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Event Value via the MIDI input of t
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Defining a controller type in the g
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Because the compiled Sounds do not
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Display Amplitude Envelopes F10 Joi
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Markers F5 F6 F7 F8 You can use mar
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492
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Exporting, Importing and Post-Proce
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The icon buttons perform actions th
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enter the length of time you want t
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Feedback Typically, you use the Fee
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expands the display in the time dir
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that can be used as waveshapers by
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Internal oo These are used internal
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Windows Pythag These are symmetric
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Variables By introducing variables,
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Playing a Lifted Sound Environments
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Comments Variables Binary messages
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Arithmetic Operations Besides the u
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Booleans Alternatively, you can pla
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Conditionals i := 0. [i 1 s) varIf
Page 522 and 523:
Scripting MIDI Scripts There are tw
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Sequences and Mixes An EventSequenc
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MIDIFileInterpreter Events With a M
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Variables could be rewritten as a l
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As a final illustration, let’s ta
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If you click OK, the program will p
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The next example is called Serial E
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The Class Editor In the course of d
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its range of legal values, its defa
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Organizing the New Classes To keep
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midiFileName any legal MIDI file na
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snd duration: (1.0 / snd frequency
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Suppose you had a ParameterTransfor
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Background Materials Reference Book
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Conferences Journals Magazines IEEE
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The Kyma Language for Sound Design, Version 4.5

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